I think Telemann is the greatest composer for the recorder. His advantage over the other baroque "Greats" in this sphere, in my opinion, is his superb grasp of orchestration due to being a multiple instrumentalist himself. He knows the recorder's potential and gets inside the instrument to find its soul, as it were. Beautifully played (by both flautist and keyboard!) performances of these works that everyone should be encouraged to listen to (especially those who demean this instrument!)
I have been a Telemann aficionado for over 50 years, and was delighted to encounter more than one work which was new to me. Let me now add that J.J. Quantz made an observation I have never forgotten: To write a fine solo sonata looks easy, and yet, is actually quite difficult. Each of the works featured here has at least "a small flame of inspiration". The rainbow of expressive moods -- from joy to drama to introspective melancholy -- is many-hued. Now for an observation that I wager will surprise most listeners: The Sonata in B-flat is consistently written in canon at the octave/unison. Such canons are generally considered to be the most difficult to compose. And yet, the music flows so gracefully and naturally that its contrapuntal sophistication is quite transparent. Kudos to all who made this excellent compilation possible. And yes, I would affirm that the cembalist is a very fine one, indeed --as is the soloist (whose use of ornamentation I especially respect).
I will always remember the day I was working and listening to sirius radio 'baroque and beyond' and blown away by Telemann Suite in A minor for recorder. Later found on UA-cam an excerpt by David Bellugi. I had to ask myself why in nearly 70 years of listening to classical music I had never really gotten taken into this genius. I have marked this beautiful recording of the sonatas for regular listening. What a pleasure or treasure, either way!
Cette musique est magnifique et pleine de fraîcheur a l'image du printemps et de l'éclosion de la nature. Il suffit de fermer les yeux et les images défilent dans la tête. Merci à vous pour cet enregistrement 😍🌺
My jaw has just dropped a few times.... there are such Coltrane level jazz moments in here and yet baroque AF.. TELEMANN is this mysterious mega secret genius boss
@Mathew Muller - I have only recently realised how amazing Telemann was as a composer - having tended towards playing Sammartini, Corelli, Vivaldi, Handel and Bach as a recorder player. But I have recently been trying to master Telemann's Canonic sonatas and have been so surprised at the rhythms and melodies in them. As you point out they seem to be both totally Baroque and yet strangely modern !! I love the 2nd Canonic sonata and the third movement is very like the Game of Thrones theme music imo. And there's a brief moment at the end of the first movement of the first CS that is like a track from the electronic duo Suicide - wtf?? What can I say - the man was a true genius and the playing of Erik Bosgraff on this recording is sublime - I only wish more 'non' recorder players could listen to this - they might be converted??
@@honeychurchgipsy6 What blew me off was when I heard T's fantasias for treble recorder solo played by Frans Bruggen: it was what drew me close to Baroque music.
I always knew Telemann existed, but only recently have I actually started listening to his flute and recorder compositions and he's quickly becoming one of my favorite composers ever.
This recording is really amazing. Two more than excellent performers, and the brilliancy of Telemann's compositions. Thanks for creating this superb album!
I'm lucky to have heard Erik live in the Matthias Church, Budapest, where he gave a sensational concert with the Symphonic Orchestra and Choir of the Hungarian Radio two days ago. He played Telemann and Vivaldi concertos. The audience was absolutely amazed at what wonders can be done with a recorder.
@Attila Kovacs - lucky you!! I had a similarly wonderful experience around 2 years ago. I went to a tiny venue at my University to hear the world premier of a recorder concerto written for the English player Piers Adams - written and conducted by Crispin Ward - but then, as if that wasn't wonderful enough - as an unscheduled extra Piers played my favourite concerto for soprano - the Sammartini in F - I was just feet from him and got to chat afterwards - what a wonderful evening!!
f-moll-Sonate (TWV 41:f1) Triste ab 14:39 Allegro ab 17:07 Andante ab 21:19 Vivace ab 22:41 C-dur-Sonate (TWV 41:C2) Cantabile ab24:47 Allegro ab 26:07 Grave ab 28:05 Vivace ab 29:37 -31:49 B-dur-Sonate (TWV41: B3) Largo ab 31:55 Allegro ab 33:09 Largo ab 35:11 Vivace ab 36:17 - 38:05 F-dur-Sonate (TWV 41:F2) Vivace ab 38:09 Largo ab 40:26 Allegro ab 42:27 - 44:00 d-moll-Sonate (TWV 41:d4) Affetuoso ab 44:05 Presto ab 45:45 Grave ca.49:00 Allegro ab 49:55
this instrument does not get enough credit. It's given such a bad rap as THAT instrument kids learn. This recording is wonderful and inspiring. Thank you.
It doesn't help that the majority of recorders sold in North America are REALLY cheap blow molded plastic that are so poor, you're lucky to make any sound with it at all. A quality wood and cork recorder/blockflüte has a wonderful sound that few can identify. This instrument is essential to any collection of Baroque or late mediaeval music.
@@giovannirafael5351 - in fact you're probably better buying a good plastic instrument than a cheap wooden one. Yamaha and Aulos make some superb plastic instruments and there's even an A 415 Bressan copy available. If a beginner they are often easier to play too - buy a lovely Moeck Rottenburgh as a beginner and you might just give up through frustration as they require very accurate finger/thumb and breath control for the high notes.
It depends on the skill of the player more than the instrument. My dad discouraged me from playing the recorder. He had no idea what the instrument could sound like. I persevered as an adult
Videos became a bit too common even for classical music these days. Even though I do prefer live play with videos, this recording is beyond amazing and excellent without any moving pictures.
Both are very good, I am not an expert but I think that Telemann's music and such expressive performance are sublime. The only shame is the lack of video.
Actually Practice with your heart and fingers and get caught up in the music and you’ll enjoy practicing so much you will not concern yourself with time.
@@caroledonaldson5195 Totally agree, as a player too I think the best way yo play "well" is feeling the music before thinking it. It leads you to play better, to LIVE the music. It's the most important, it's music :)
If it was a flute they would call it a flute. A blockflote is no more a flute than elevator shoes are part of an elevator or a wheel is the same as a wheelie or a big wheel. And flutes are transverse.
If it was a flute they would call it a flute. Flutes are transverse. A blockflote is no more a flute than elevator shoes are an elevator or a wheelie is a wheel.
48:59 I can image Bach having wept when hearing this 'Grave' movement of the Sonata in D minor. And then, of course, use it in his own Toccata and Fugue in D minor masterpiece. The greatest compliment he could give.
Corti FTW. Oh, and the recorder is nice too. I have to say I don't know much about Telemann or his music. My exposure to baroque is mostly limited to Bach and Handel. So far I'm liking this!
Phrasing and tonguing are not put into the original and you have to make it "your own", thus no 2 players will ever sound the same, which is a great thing and very exciting.
Background music for roleplaying?? What a waste of Bosgraaf and Corti's years of work and careful craftsmanship and musicianship, not to mention the genius of Mr. Telemann.
Wouldn't restricting the joy this music brings to only a mode of listening be a waste of the work these people did? If this has value to someone, even as background music, than the musicians have achieved their goal. If you truly value their work, craftsmanship and genius, then let this work enrich peoples lives in whatever way it happens to do so.
Due virtuosi, non c'è dubbio. Però io non so se Telemann volesse suonate le sue composizioni a queste velocità supersonica. Fatto si è che nei Presto e negli Andante il suono del flauto dolce si impasta in una sequenza sonora quasi compatta in cui non si distinguono più le singole note. Il clavicembalo sembra sparare a raffica da una gatling. Insomma, quando si è coì bravi si dovrebbe fare un passo indietro e permettere di ascoltare musica, piuttosto che i virtuosismi di chi esegue.
I thought there were only seven Telemann recorder sonatas, but here there are nine. Are the additional two in fact legitimate recorder sonatas, written specifically for the recorder, and perhaps recently discovered? Or were they adapted from other compositions, such as flute sonatas?
Well, as far as I know, there are 8 Telemann sonatas "officially" for recorder: those listed above minus the TWV 41:f 1, which comes form the Getreue Music-Meister where it is clearly labelled as "Fagotto solo" ("Bassoon solo"). Playing it on the recorder might come from the fact that at least the two "sonatine" TWV 41:c 2 and TWV 41:a 4, from the "Nouvelles sonatines", are titled "Sonatina seconda / quinta. Flauto dolce, ò Fagotto, ò Violonc[ello].", but it is an extrapolation, not originally indicated by Telemann. The "8th" sonata (the one which is possibly not accounted for in the "7 sonatas" canon) is probably TWV 41:B 3, no. 28 of the "Getreue Music-Meister", which has several instrumentations, some of them unusual: "Flute trav. / Viola di Gamba ò di Braccio" or "Viola [da braccio o da gamba] / Flauto dolce", "Viola [da braccio o da gamba] / [Continuo]". So, it IS a sonata for which the recorder is originally listed but, NO, it is not a "standard" sonata for recorder and basso continuo.
@@MaurizioMGavioli Hmm, I pulled out my sheet music to make sure, and what I'm missing are the first two of these sonatas, which I had never heard before. I searched for a while, but the best explanation I came across was from the link below; a different CD with the same nine sonatas, which noted that "Seven of the sonatas are among his best-known, and they have become a part of the standard repertoire for recorder players. In addition, we get to hear two sonatinas whose basso continuo parts were missing until their discovery in the 1990s." Those two must the ones I don't have -- I'll have to look for the sheet music. www.nativedsd.com/catalogue/albums/lwc1181-telemann-recorder-sonatas/ (BTW, according to my Schott edition, while TWV 41:f1 is indeed intended primarily for bassoon, there is a note in Telemann's own handwriting saying it can also be played on the alto recorder. I certainly think it works well enough).
@@hummingfrog as I said, playing TWV41:f 1 on the recorder is reasonable; still, in the "officially" published source, it is clearly titled as a "Fagotto solo", so I made the editorial decision not to include it in my on-going project of publishing all Telemann works for or with recorder. Other editors may well make different decisions, of course! About the two "Sonatine", the only extant copy lacks the continuo part but, luckily for us, of the two recorder sonatine there are two manuscripts in Dresden with a violin version (one octave lower but for the rest with virtually no change) WITH the continuo, which are usually used to supply the continuo part. The Dresden Court collections are repertoried since centuries but I can imagine matching them was difficult until TWV came out in the '80 - '90. For sheet music, you may try to see if my edition at vistamaremusica.com/data/telemann_gp/flauto_twv41/score.php does suit you.
![G. P. Telemann - The Original Recorder Sonatas [Robert Ehrlich, Richard Egarr, Mark Levy]](/img/n.gif)
I think Telemann is the greatest composer for the recorder. His advantage over the other baroque "Greats" in this sphere, in my opinion, is his superb grasp of orchestration due to being a multiple instrumentalist himself. He knows the recorder's potential and gets inside the instrument to find its soul, as it were. Beautifully played (by both flautist and keyboard!) performances of these works that everyone should be encouraged to listen to (especially those who demean this instrument!)
Wat geniet ik van deze prachtige vertolkingen van twee fantastische musici!
I have been a Telemann aficionado for over 50 years, and was delighted to encounter more than one work which was new to me. Let me now add that J.J. Quantz made an observation I have never forgotten: To write a fine solo sonata looks easy, and yet, is actually quite difficult. Each of the works featured here has at least "a small flame of inspiration". The rainbow of expressive moods -- from joy to drama to introspective melancholy -- is many-hued.
Now for an observation that I wager will surprise most listeners: The Sonata in B-flat is consistently written in canon at the octave/unison. Such canons are generally considered to be the most difficult to compose. And yet, the music flows so gracefully and naturally that its contrapuntal sophistication is quite transparent. Kudos to all who made this excellent compilation possible. And yes, I would affirm that the cembalist is a very fine one, indeed --as is the soloist (whose use of ornamentation I especially respect).
I studied the alto recorder in teachers' college in Germany. Listening to this beautiful music encourages me to re-learn the instrument.
Harpsichord and recorder together are such a treat for the ears. I must get this CD
They are the very scourge of my family. My mother hates harpsichords, and my sis can't stand recorders.
I will always remember the day I was working and listening to sirius radio 'baroque and beyond' and blown away by Telemann Suite in A minor for recorder. Later found on UA-cam an excerpt by David Bellugi. I had to ask myself why in nearly 70 years of listening to classical music I had never really gotten taken into this genius. I have marked this beautiful recording of the sonatas for regular listening. What a pleasure or treasure, either way!
Cette musique est magnifique et pleine de fraîcheur a l'image du printemps et de l'éclosion de la nature. Il suffit de fermer les yeux et les images défilent dans la tête. Merci à vous pour cet enregistrement 😍🌺
I have heard it thousand times, it is simply brilliant!!Bravo Erik and Francesco you are both fantastic artists!!
My jaw has just dropped a few times.... there are such Coltrane level jazz moments in here and yet baroque AF.. TELEMANN is this mysterious mega secret genius boss
@Mathew Muller - I have only recently realised how amazing Telemann was as a composer - having tended towards playing Sammartini, Corelli, Vivaldi, Handel and Bach as a recorder player. But I have recently been trying to master Telemann's Canonic sonatas and have been so surprised at the rhythms and melodies in them.
As you point out they seem to be both totally Baroque and yet strangely modern !!
I love the 2nd Canonic sonata and the third movement is very like the Game of Thrones theme music imo. And there's a brief moment at the end of the first movement of the first CS that is like a track from the electronic duo Suicide - wtf??
What can I say - the man was a true genius and the playing of Erik Bosgraff on this recording is sublime - I only wish more 'non' recorder players could listen to this - they might be converted??
@@honeychurchgipsy6 What blew me off was when I heard T's fantasias for treble recorder solo played by Frans Bruggen: it was what drew me close to Baroque music.
I always knew Telemann existed, but only recently have I actually started listening to his flute and recorder compositions and he's quickly becoming one of my favorite composers ever.
This recording is really amazing. Two more than excellent performers, and the brilliancy of Telemann's compositions. Thanks for creating this superb album!
I'm lucky to have heard Erik live in the Matthias Church, Budapest, where he gave a sensational concert with the Symphonic Orchestra and Choir of the Hungarian Radio two days ago. He played Telemann and Vivaldi concertos. The audience was absolutely amazed at what wonders can be done with a recorder.
Attila Kovács Azta 😍 féltékeny vagyok
@Attila Kovacs - lucky you!! I had a similarly wonderful experience around 2 years ago. I went to a tiny venue at my University to hear the world premier of a recorder concerto written for the English player Piers Adams - written and conducted by Crispin Ward - but then, as if that wasn't wonderful enough - as an unscheduled extra Piers played my favourite concerto for soprano - the Sammartini in F - I was just feet from him and got to chat afterwards - what a wonderful evening!!
Bravo! Bravo! Bravissimo! Great performace! Thanks for the music
Incroyable interprétation , la flûte à bec magnifique.
Excellente! Grazias, maestro Bosgraaf y maestro Corti!
wonderful morning music, beautiful, thank you players and posters!
I remember Being a kid and playing the recordar i started playing againg and it feels so good, the beauty of this simple instrument. Bosgraaf amazing.
Have just found this - wonderful! Thank you. (I returned to the recorder in lockdown after a 55 year gap :-) so this is an awesome inspiration.)
f-moll-Sonate (TWV 41:f1)
Triste ab 14:39
Allegro ab 17:07
Andante ab 21:19
Vivace ab 22:41
C-dur-Sonate (TWV 41:C2)
Cantabile ab24:47
Allegro ab 26:07
Grave ab 28:05
Vivace ab 29:37 -31:49
B-dur-Sonate (TWV41: B3)
Largo ab 31:55
Allegro ab 33:09
Largo ab 35:11
Vivace ab 36:17 - 38:05
F-dur-Sonate (TWV 41:F2)
Vivace ab 38:09
Largo ab 40:26
Allegro ab 42:27 - 44:00
d-moll-Sonate (TWV 41:d4)
Affetuoso ab 44:05
Presto ab 45:45
Grave ca.49:00
Allegro ab 49:55
Thanks so much Doris.
Quelle précision et quelle élégance de jeu !! Bravo !!! C'est un plaisir de déguster Telemann de cette façon ! Christian flûtiste à bec amateur.
I know the focus is the recorder, but can we talk about how brilliant the cembalist is? He supports the recorder very well here.
This and the Handel sonatas, the cembalist such a prodigy
Exactly, he's brilliant like Erik!!Excellent partner to him!
He is brillant!
totally agree !! both are brilliant ! and telemann a brilliant composer too .
Un grand merci pour ce moment exceptionnel !
wat een bijzonder mooie klank
¡¡Extaordinario compositor; extraordinaria música; extraordinarios músicos!! ¡¡ Bravo; Bravísimo; Bravo!!
Virtuoso y hermoso a la misma vez!
Divine music!!! Thank you so much!!!
Thank you for sharing this remarkable album 💐
¡Increíble y muchas gracias!
Un saludo desde Chile. 🇨🇱.
正確でかつ美しく演奏されたこのアルバムに感謝しています。
奈良献児 what?
He wrote: "I appreciate this album that is played with both accuracy and beauty."
as well as that commentary
Oi KenGnara tudo jóia com você que Deus te abençoe.
Telemann is a genius!
Yes. He used to go out into the woods and get naked. I read this somewhere.
Erik Bosgraaf is a genius!
Erik Bosgraaf is a genius!
Beautifully played
Telemann, my favorite composer from the baroque period.....
¡Muchas muchas gracias por esta música tan bella! ❤❤❤
Divine, really upbeat, tingles the heartstrings, soothes & nourishes the tired soul.
Incridble sound of the both!! Bravos !!
what a joy to listen to these top artists!
텔레만 선생 이렇게 아름다운 음악을 즐길 수 있게 해주셔서 정말 감사드립니다.
this instrument does not get enough credit. It's given such a bad rap as THAT instrument kids learn. This recording is wonderful and inspiring. Thank you.
It doesn't help that the majority of recorders sold in North America are REALLY cheap blow molded plastic that are so poor, you're lucky to make any sound with it at all. A quality wood and cork recorder/blockflüte has a wonderful sound that few can identify. This instrument is essential to any collection of Baroque or late mediaeval music.
@@Southlander1000 Honestly even a plastic recorder can be pretty decent, but most are nothing more than toys
@@giovannirafael5351 - in fact you're probably better buying a good plastic instrument than a cheap wooden one. Yamaha and Aulos make some superb plastic instruments and there's even an A 415 Bressan copy available. If a beginner they are often easier to play too - buy a lovely Moeck Rottenburgh as a beginner and you might just give up through frustration as they require very accurate finger/thumb and breath control for the high notes.
It depends on the skill of the player more than the instrument. My dad discouraged me from playing the recorder. He had no idea what the instrument could sound like. I persevered as an adult
Maravilloso !! Gracias !
ik dank jullie,wat prachtig gespeeld,groet uit den haag,ineke.
Virtuosa presentación en la Universidad de La Sabana en Bogotá. Sept/2018 : )
Tanto Telemann era um compositor deveras inspirado, quanto sua música nos inspira estar de bem com a vida .
Ideal music for working in the garden on a bright blue sunny day! Plants might even perk up to this...
;-)
First time hearing It's 9pm- my garden is grow'n
Perk up? I bet they're prancing up and down with the music!
Videos became a bit too common even for classical music these days. Even though I do prefer live play with videos, this recording is beyond amazing and excellent without any moving pictures.
Both are very good, I am not an expert but I think that Telemann's music and such expressive performance are sublime. The only shame is the lack of video.
I love the TWV41:F2 played by Erik, is just wonderful!
Thanks! this is beautiful and the Time list is very helpful! :))
Incredible variations and tones in the perfect scale. I carry it with me always.
1:08 Cheesus, I love this sonata and the ornementation here gives me litteral goosebumps every fucking time.
As a beginner recorder player this is ssooooo inspiring. I'd love to one day play like this. I better get practising lol
you better practice 40 hours a day
Actually
Practice with your heart and fingers and get caught up in the music and you’ll enjoy practicing so much you will not concern yourself with time.
@@caroledonaldson5195 Totally agree, as a player too I think the best way yo play "well" is feeling the music before thinking it. It leads you to play better, to LIVE the music. It's the most important, it's music :)
After the violin ( my instrument of prdilection) the flute( recorder) is my favourit instrument. I can listen to hours and hours with the same craze ❤
Espléndido!!... qué exhibición de arte y destreza
Que de grâce et d'élégance mises au service du compositeur qui a su le mieux exploiter les ressources de la flute à bec.
Thanks for uploading!
fantastic music and flutist
But he doesn't play the flute ......
? this blockflote!it's a flute!
If it was a flute they would call it a flute. A blockflote is no more a flute than elevator shoes are part of an elevator or a wheel is the same as a wheelie or a big wheel. And flutes are transverse.
If it was a flute they would call it a flute. Flutes are transverse. A blockflote is no more a flute than elevator shoes are an elevator or a wheelie is a wheel.
A blockflote
Just IMPRESSIVE!
Bellissimo!!!!!!!!!!!!!!
素晴らしい！🌠
48:59 I can image Bach having wept when hearing this 'Grave' movement of the Sonata in D minor. And then, of course, use it in his own Toccata and Fugue in D minor masterpiece. The greatest compliment he could give.
Except the fact that Bach wrote his Toccata&Fugue ~20 years before this sonata.
Dziekuje za uczte muzyczna
Beautiful ! Merry Christmas !
Happy Channukah and Eid Mubarak!
Very beautiful!
nice thank you,Brilliant Classics
This is fuckin metal! Telemann was a BEAST!
Outstanding !!
Corti FTW. Oh, and the recorder is nice too. I have to say I don't know much about Telemann or his music. My exposure to baroque is mostly limited to Bach and Handel. So far I'm liking this!
Telemann un genio
Magnífico
Невероятна техника!
brilliant !!
merci
I have also like this orange block flute from school :)
Does anyone know what recorder model Erik plays in these recordings? To me the sound is a bit too big to be a Denner. Rottenburgh maybe?
Virtuoso❤
thanks..!!very gooooood !!!!!
Phrasing and tonguing are
not put into the original and you have to make it "your own", thus no 2 players will ever sound the same, which is a great thing and very exciting.
heather mcdougall I love that about the music too.
You can play the same piece for decades and get many different versions
Fantastic
One of the main baroquee giants, close to Bach's family, was the godfather for CPE BACH, good choice uncle Bach 👍.
Cuando uno nace para algo, nada lo detiene....
real good
I'm a Bach man but just rediscovered Telemann
you are not so much of a Tele-man then
A sophisticated Bach man knows how to Händel his Tele mann.
So you are Bach to Telemann?
Learning by heart.🤍
Der Cembalist.
Ein guter Begleiter.🌠
sublime
Sheer angelic genius music! MUST have background music for roleplay games...
Background music for roleplaying?? What a waste of Bosgraaf and Corti's years of work and careful craftsmanship and musicianship, not to mention the genius of Mr. Telemann.
Odd, because I did not mention any way.
Wouldn't restricting the joy this music brings to only a mode of listening be a waste of the work these people did? If this has value to someone, even as background music, than the musicians have achieved their goal. If you truly value their work, craftsmanship and genius, then let this work enrich peoples lives in whatever way it happens to do so.
THAT SECOND SONG WOW!!!!!!1!!!!11!!11!!!!!!
You guys hereby get the hard-earned TelemannKiss*
Telemann at his best...
ahhhh relaxing
Is this played on Soprano or alto recorder?
Alto
I dare say: Telemann would have been in seventh heaven, when hearing this. (as I am)
Nice. Feels like modern romantic sounds like a ballad or Mozarts für Elise.
für Elise is by Beethoven
sao divnas, paerece descer dos ceus,!!!!!!!!
It is amazing what you can do with such a simple instrument, if you are really good at it.
Due virtuosi, non c'è dubbio. Però io non so se Telemann volesse suonate le sue composizioni a queste velocità supersonica. Fatto si è che nei Presto e negli Andante il suono del flauto dolce si impasta in una sequenza sonora quasi compatta in cui non si distinguono più le singole note. Il clavicembalo sembra sparare a raffica da una gatling. Insomma, quando si è coì bravi si dovrebbe fare un passo indietro e permettere di ascoltare musica, piuttosto che i virtuosismi di chi esegue.
Sorry, very stupid question! Are all here played sonatas for soprano or for the alto recorder? Or both mixed? Best wishes!
What a move at 7'44!!!
I thought there were only seven Telemann recorder sonatas, but here there are nine. Are the additional two in fact legitimate recorder sonatas, written specifically for the recorder, and perhaps recently discovered? Or were they adapted from other compositions, such as flute sonatas?
Well, as far as I know, there are 8 Telemann sonatas "officially" for recorder: those listed above minus the TWV 41:f 1, which comes form the Getreue Music-Meister where it is clearly labelled as "Fagotto solo" ("Bassoon solo"). Playing it on the recorder might come from the fact that at least the two "sonatine" TWV 41:c 2 and TWV 41:a 4, from the "Nouvelles sonatines", are titled "Sonatina seconda / quinta. Flauto dolce, ò Fagotto, ò Violonc[ello].", but it is an extrapolation, not originally indicated by Telemann.
The "8th" sonata (the one which is possibly not accounted for in the "7 sonatas" canon) is probably TWV 41:B 3, no. 28 of the "Getreue Music-Meister", which has several instrumentations, some of them unusual: "Flute trav. / Viola di Gamba ò di Braccio" or "Viola [da braccio o da gamba] / Flauto dolce", "Viola [da braccio o da gamba] / [Continuo]". So, it IS a sonata for which the recorder is originally listed but, NO, it is not a "standard" sonata for recorder and basso continuo.
@@MaurizioMGavioli Hmm, I pulled out my sheet music to make sure, and what I'm missing are the first two of these sonatas, which I had never heard before. I searched for a while, but the best explanation I came across was from the link below; a different CD with the same nine sonatas, which noted that "Seven of the sonatas are among his best-known, and they have become a part of the standard repertoire for recorder players. In addition, we get to hear two sonatinas whose basso continuo parts were missing until their discovery in the 1990s." Those two must the ones I don't have -- I'll have to look for the sheet music.
www.nativedsd.com/catalogue/albums/lwc1181-telemann-recorder-sonatas/
(BTW, according to my Schott edition, while TWV 41:f1 is indeed intended primarily for bassoon, there is a note in Telemann's own handwriting saying it can also be played on the alto recorder. I certainly think it works well enough).
@@hummingfrog as I said, playing TWV41:f 1 on the recorder is reasonable; still, in the "officially" published source, it is clearly titled as a "Fagotto solo", so I made the editorial decision not to include it in my on-going project of publishing all Telemann works for or with recorder. Other editors may well make different decisions, of course!
About the two "Sonatine", the only extant copy lacks the continuo part but, luckily for us, of the two recorder sonatine there are two manuscripts in Dresden with a violin version (one octave lower but for the rest with virtually no change) WITH the continuo, which are usually used to supply the continuo part. The Dresden Court collections are repertoried since centuries but I can imagine matching them was difficult until TWV came out in the '80 - '90.
For sheet music, you may try to see if my edition at vistamaremusica.com/data/telemann_gp/flauto_twv41/score.php does suit you.
Good to play Recorder is not easy thing🥺
Does anyone know what tuning recorder it is?